Motion Picture Magazine (Feb-Jul 1924)

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The book has excited a wide demand — and the fihn seems destined to attract audiences — particularly feminine audiences, because of its theme founded upon the search for the fountain of youth — a movement started by Ponce de Leon some centuries ago. The love aflfair of a woman of sixtj who has her youth restored by the w. k. Steinach operation takes up the burden of the plot. This middle-aged dowager, being thoroly schooled in the art of courtship — what with years to study the psychology of romance, captivates a young writer, played with little spark by Conway Tearle. He begins his pursuit in a collection of badly designed settings. These are not so noticeable at the start because the attention is held by the bravery of the would-be ingenue in telling her sixty-year-old girl friends how she has succeeded in keeping a perfect thirty-six. Too much effort has been put into this picture to make it interesting to the end. The jazz element often irritates because it is obviously introduced. The story is uneven. But we must consider Corinne Griffith who compels attention because of her charm and .simplicity of manner — even if her sixty -year-old representation is often out of focus with reality. The best performance is contributed by Kate Lester. Clara Bow is given to exaggerated expres.sion in her attempt to make the flapper genuine. It is a sumptuous production — and as mentioned above, is certain to excite patronage. The sale on the book and Miss Griffith's personality will draw the crowds — to say nothing of the original theme — which everybody has heard about. The Rendezvous Just what Marshall Neilan was driving at here, it is diflicult to determine. He has spent considerable time and money — which might better have been employed on some more worthy material. The story starts nowhere and finishes nowhere — merely being an orthodox — or, rather, a hopelessly conventional romance between a Russian girl and an American soldier — a romance touched up with melodramatic devices. There is a brutal Siberian wolf-hound of the human species present to embarrass the heroine and lend vividness to the tale — so one may realize that it mostly concerns romantic conflict. The finish is in sight all the way. What sparks it furnishes are found in Sydney Chaplin's performance of an 01' Bill type of English soldier — and some fair-tomiddlin' action. It does not satisfy the emotions and the picture left us cold. The bad points overbalance the good points. In the cast is Lucille Ricksen, who may be called a most promising ingenue, even if she is not a good selection for the role of the Russian girl. The Man Life Passed By Hectic and thoroly false to life— telling a sordid, morbid tale of the ups and downs — mostly downs— of a gross simpleton who permits a rich scalawag to force him to the depths of despondency, sharply emphasizing the crude contrasts of poverty and riches, touching all the theatric devices of Blaney's day— this picture is about the poorest attempt to make capital of characterization that has been revealed in a Tliere is nothing lifelike about it. It Iage.